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In !Presente! Diana Taylor asks what it means to be physically and
politically present in situations where it seems that nothing can
be done. As much an act, a word, an attitude, a theoretical
intervention, and a performance pedagogy, Taylor maps !presente! at
work in scenarios ranging from conquest, through colonial
enactments and resistance movements, to present moments of
capitalist extractivism and forced migration in the Americas.
!Presente!-present among, with, and to; a walking and talking with
others; an ontological and epistemic reflection on presence and
subjectivity as participatory and relational, founded on mutual
recognition-requires rethinking and unlearning in ways that
challenge colonial epistemologies. Showing how knowledge is not
something to be harvested but a process of being, knowing, and
acting with others, Taylor models a way for scholarship to be
present in political struggles.
In The Archive and the Repertoire preeminent performance studies
scholar Diana Taylor provides a new understanding of the vital role
of performance in the Americas. From plays to official events to
grassroots protests, performance, she argues, must be taken
seriously as a means of storing and transmitting knowledge. Taylor
reveals how the repertoire of embodied memory-conveyed in gestures,
the spoken word, movement, dance, song, and other
performances-offers alternative perspectives to those derived from
the written archive and is particularly useful to a reconsideration
of historical processes of transnational contact. The Archive and
the Repertoire invites a remapping of the Americas based on
traditions of embodied practice.Examining various genres of
performance including demonstrations by the children of the
disappeared in Argentina, the Peruvian theatre group Yuyachkani,
and televised astrological readings by Univision personality Walter
Mercado, Taylor explores how the archive and the repertoire work
together to make political claims, transmit traumatic memory, and
forge a new sense of cultural identity. Through her consideration
of performances such as Coco Fusco and Guillermo Gomez-Pena's show
Two Undiscovered Amerindians Visit . . . , Taylor illuminates how
scenarios of discovery and conquest haunt the Americas, trapping
even those who attempt to dismantle them. Meditating on events like
those of September 11, 2001 and media representations of them, she
examines both the crucial role of performance in contemporary
culture and her own role as witness to and participant in
hemispheric dramas. The Archive and the Repertoire is a compelling
demonstration of the many ways that the study of performance
enables a deeper understanding of the past and present, of
ourselves and others.
In !Presente! Diana Taylor asks what it means to be physically and
politically present in situations where it seems that nothing can
be done. As much an act, a word, an attitude, a theoretical
intervention, and a performance pedagogy, Taylor maps !presente! at
work in scenarios ranging from conquest, through colonial
enactments and resistance movements, to present moments of
capitalist extractivism and forced migration in the Americas.
!Presente!-present among, with, and to; a walking and talking with
others; an ontological and epistemic reflection on presence and
subjectivity as participatory and relational, founded on mutual
recognition-requires rethinking and unlearning in ways that
challenge colonial epistemologies. Showing how knowledge is not
something to be harvested but a process of being, knowing, and
acting with others, Taylor models a way for scholarship to be
present in political struggles.
Moving On By Diana Taylor Hart Samantha Cabot Samuels makes a
horrifying discovery on her first day as an elementary school
principal in southern Arizona. But the terror doesn't stop there.
Sam wrestles with a hostile school environment and ruthless
villains lashing out for blood. Still struggling over the death of
her five-year-old daughter, she wonders if she can make a
difference in her young students' lives. With tension mounting over
the next three days, Sam finds herself swept up in chaos that
leaves her questioning everything in her life. Will she survive?
Who is responsible for the mysterious death of her husband? Why is
the violence escalating at a barrio school on the verge of closure?
Can she trust her colleagues, or is one of them setting her up as a
pawn in a vicious drug war? Will she lose her chivalrous beau also
embroiled in the local politics? Needing answers, Sam delves into
the mysteries surrounding the turmoil. Caught in the crossfire,
from high-speed chases and bullets flying to heartwarming romance
and even a few good laughs, she unravels the lines of betrayal that
will change her life forever.
Important Note about PRINT ON DEMAND Editions: You are purchasing a
print on demand edition of this book. This book is printed
individually on uncoated (non-glossy) paper with the best quality
printers available. The printing quality of this copy will vary
from the original offset printing edition and may look more
saturated. The information presented in this version is the same as
the latest edition. Any pattern pullouts have been separated and
presented as single pages. If the pullout patterns are missing,
please contact c&t publishing.
Holy Terrors presents exemplary original work by fourteen of Latin
America's foremost contemporary women theatre and performance
artists. Many of the pieces-including one-act plays, manifestos,
and lyrics-appear in English for the first time. From Griselda
Gambaro, Argentina's most widely recognized playwright, to such
renowned performers as Brazil's Denise Stoklos and Mexico's Jesusa
Rodriguez, these women are involved in some of Latin America's most
important aesthetic and political movements. Of varied racial and
ethnic backgrounds, they come from across Latin America-Argentina,
Brazil, Mexico, Chile, Colombia, Puerto Rico, Peru, and Cuba. This
volume is generously illustrated with over seventy images. A number
of the performance pieces are complemented by essays providing
context and analysis.The performance pieces in Holy Terrors are
powerful testimonies to the artists' political and personal
struggles. These women confront patriarchy, racism, and repressive
government regimes and challenge brutality and corruption through a
variety of artistic genres. Several have formed theatre
collectives-among them FOMMA (a Mayan women's theatre company in
Chiapas) and El Teatro de la mascara in Colombia. Some draw from
cabaret and 'frivolous' theatre traditions to create intense and
humorous performances that challenge church and state. Engaging in
self-mutilation and abandoning traditional dress, others use their
bodies as the platforms on which to stage their defiant critiques
of injustice. Holy Terrors is a unique English-language
presentation of some of Latin America's fiercest, most provocative
art. Contributors Sabina Berman Tania Bruguera Petrona de la Cruz
Cruz Diamela Eltit Griselda Gambaro Astrid Hadad Teresa Hernandez
Rosa Luisa Marquez Teresa Ralli Diana Raznovich Jesusa Rodriguez
Denise Stoklos Katia Tirado Ema Villanueva
"Performance" has multiple and often overlapping meanings that
signify a wide variety of social behaviors. In this invitation to
reflect on the power of performance, Diana Taylor explores many of
its uses and iterations: artistic, economic, sexual, political, and
technological performance; the performance of everyday life; and
the gendered, sexed, and racialized performance of bodies. This
book performs its argument. Images and texts interact to show how
performance is at once a creative act, a means to comprehend power,
a method of transmitting memory and identity, and a way of
understanding the world.
In Negotiating Performance, major scholars and practitioners of the
theatrical arts consider the diversity of Latin American and U. S.
Latino performance: indigenous theater, performance art, living
installations, carnival, public demonstrations, and gender acts
such as transvestism. By redefining performance to include such
events as Mayan and AIDS theater, the Mothers of the Plaza de Mayo,
and Argentinean drag culture, this energetic volume discusses the
dynamics of Latino/a identity politics and the sometimes discordant
intersection of gender, sexuality, and nationalisms.
The Latin/o America examined here stretches from Patagonia to New
York City, bridging the political and geographical divides between
U.S. Latinos and Latin Americans. Moving from Nuyorican casitas in
the South Bronx, to subversive street performances in Buenos Aires,
to border art from San Diego/Tijuana, this volume negotiates the
borders that bring Americans together and keep them apart, while at
the same time debating the use of the contested term Latino/a. In
the emerging dialogue, contributors reenvision an inclusive
America, a Latin/o America that does not pit nationality against
ethnicity--in other words, a shared space, and a home to all
Latin/o Americans.
Negotiating Performance opens up the field of Latin/o American
theater and performance criticism by looking at performance work by
Mayans, women, gays, lesbians, and other marginalized groups. In so
doing, this volume will interest a wide audience of students and
scholars in feminist and gender studies, theater and performance
studies, and Latin American and Latino cultural
studies.Contributors. Judith Bettelheim, Sue-Ellen Case, Juan
Flores, Jean Franco, Donald H. Frischmann, Guillermo Gomez-Pena,
Jorge Huerta, Tiffany Ana Lopez, Jacqueline Lazu, Maria Teresa
Marrero, Cherrie Moraga, Kirsten F. Nigro, Patrick O'Connor, Jorge
Salessi, Alberto Sandoval, Cynthia Steele, Diana Taylor, Juan
Villegas, Marguerite Waller
Latin American theatre is among the most innovative in the world
today. The period 1965-1970 was one of intense theatrical
production in the region. Dozens of major playwrights and
collective theaters produced hundreds of highly original plays.
This was also a period of profound ideological and sociopolitical
transformation. Hopes for Latin American self-definition and
self-determination after centuries of colonization and foreign
exploitation began to crumble, while the right-wing backlash
produced a politics of terror. In this dynamic study, Diana Taylor
proposes that, for all the diversity of peoples, languages, and
cultural images in Latin America, the effects of crisis on the
region's theatre are surprisingly uniform. As a cultural subsystem,
theatre is both a product of and a commentary on the making and
dismantling of society at large. Theatre of Crisis is an important
source of information for Latin Americanists as well as theatre
specialists and literary critics interested in this virtually
unexplored field.
In Disappearing Acts, Diana Taylor looks at how national identity
is shaped, gendered, and contested through spectacle and
spectatorship. The specific identity in question is that of
Argentina, and Taylor’s focus is directed toward the years 1976
to 1983 in which the Argentine armed forces were pitted against the
Argentine people in that nation’s "Dirty War." Combining
feminism, cultural studies, and performance theory, Taylor analyzes
the political spectacles that comprised the war—concentration
camps, torture, "disappearances"—as well as the rise of
theatrical productions, demonstrations, and other performative
practices that attempted to resist and subvert the Argentine
military. Taylor uses performance theory to explore how public
spectacle both builds and dismantles a sense of national and gender
identity. Here, nation is understood as a product of communal
"imaginings" that are rehearsed, written, and staged—and
spectacle is the desiring machine at work in those imaginings.
Taylor argues that the founding scenario of Argentineness stages
the struggle for national identity as a battle between men—fought
on, over, and through the feminine body of the Motherland. She
shows how the military’s representations of itself as the model
of national authenticity established the parameters of the conflict
in the 70s and 80s, feminized the enemy, and positioned the
public—limiting its ability to respond. Those who challenged the
dictatorship, from the Mothers of the Plaza de Mayo to progressive
theater practitioners, found themselves in what Taylor describes as
"bad scripts." Describing the images, myths, performances, and
explanatory narratives that have informed Argentina’s national
drama, Disappearing Acts offers a telling analysis of the
aesthetics of violence and the disappearance of civil society
during Argentina’s spectacle of terror.
"Performance" has multiple and often overlapping meanings that
signify a wide variety of social behaviors. In this invitation to
reflect on the power of performance, Diana Taylor explores many of
its uses and iterations: artistic, economic, sexual, political, and
technological performance; the performance of everyday life; and
the gendered, sexed, and racialized performance of bodies. This
book performs its argument. Images and texts interact to show how
performance is at once a creative act, a means to comprehend power,
a method of transmitting memory and identity, and a way of
understanding the world.
In "The Archive and the Repertoire" preeminent performance studies
scholar Diana Taylor provides a new understanding of the vital role
of performance in the Americas. From plays to official events to
grassroots protests, performance, she argues, must be taken
seriously as a means of storing and transmitting knowledge. Taylor
reveals how the repertoire of embodied memory--conveyed in
gestures, the spoken word, movement, dance, song, and other
performances--offers alternative perspectives to those derived from
the written archive and is particularly useful to a reconsideration
of historical processes of transnational contact. "The Archive and
the Repertoire" invites a remapping of the Americas based on
traditions of embodied practice.
Examining various genres of performance including demonstrations
by the children of the disappeared in Argentina, the Peruvian
theatre group Yuyachkani, and televised astrological readings by
Univision personality Walter Mercado, Taylor explores how the
archive and the repertoire work together to make political claims,
transmit traumatic memory, and forge a new sense of cultural
identity. Through her consideration of performances such as Coco
Fusco and Guillermo Gomez-Pena's show "Two Undiscovered Amerindians
Visit . . ., "Taylor illuminates how scenarios of discovery and
conquest haunt the Americas, trapping even those who attempt to
dismantle them. Meditating on events like those of September 11,
2001 and media representations of them, she examines both the
crucial role of performance in contemporary culture and her own
role as witness to and participant in hemispheric dramas. "The
Archive and the Repertoire" is a compelling demonstration of the
many ways that the study of performance enables a deeper
understanding of the past and present, of ourselves and others.
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